“Photography beyond the picture-taking: what are photographers’ social and ethical responsibilities in influencing their audience?”

 

Introduction

Photographs are used for different purposes by different people. In communication and journalism, photos are used to communicate messages to different audiences about a selected subject. It, therefore, means that pictures carry messages and stronger messages which influence the audience as they help the matter. They arouse emotions in people, happy or distress depending on the nature of the images presented (Archer, 2013, par. 4).  Photographs have roles to play and so do the photographers. Since pictures act as a medium for strong messages, photographers are required to go beyond just exposing light to shaping information with the right content. A photographer has a responsibility towards the audience who serves as the destination of the pictures. Also, they are responsible for the impacts of the photographs on the subject. This work focuses on the responsibilities of photographers on the audience and the subject as well as exploring the effect of different images to the audience.

Photographer Perception of the Audience and the Subject

Ethics and Responsibilities of a Photographer to the Subject

Photographers need and involve subjects in the process to have a good picture. However, the language they use makes the subjected to be viewed as an object. The language which photographers usually use “take,” “capture” and “shoot” someone represents a discord in the process showing that the photographer aims at only benefiting from the subject(Cohen, 2018, par. 2). People have ended up fearing photographers because of the way they are perceived as objects to be used as the photojournalist’s benefits. Contrary to the existing relationship between the photographer and the subject, there should be collaboration and a mutual benefit in the process of photography. In the process of taking and presenting a picture; a transformation should occur between the subject, camera and the photographers themselves. In Time (date unknown c); Don McCullin(p.1) the photograph reveals some benefits on the subjects which is the soldier by showing how brave and useful they were. The photographer also benefits from the picture through the media house McCullin belonged to.

 

 

 

 

 

Source: Time(date unknown c)

Figure 1: A photograph of Some Soldiers Helping Children Escape from Enemies

The photographer is said to have exposed the good deeds of the subject revealing one of the benefits of photography. Newspapers, documentaries, and magazines should utilize photographs in ways which serves the subjects through amplifying their voices or displaying their good deeds(Morrison, 2012, par. 3). In such a case, the photographer earns respect and maintains the subject’s humanity.

Green (2018, par. 1) believes that photographers should change the situation of the subject either solving their problems or adding to their happiness by rewarding their contribution to photography. The case has been different as most photographers take pictures and leave the subject in the same situation or worse. Kashi( 2012, par. 2), a photographer confesses and confirms that most photographers do not benefit the subjects.  Kashi( 2012, par. 2), in his description, he points out that he was involved in assuming the suffering of the subjects during coverage of war scene. Time (2017a); Abdelkafi (2017, p.1) presents a photograph to show how a photographer view subjects as objects by taking a shot and walking away without an effort to help them.

 

 

 

 

 

 

Source: Time (2017a)

Figure 2: A photograph Taken by Abdelkafi in 2017Showinga Policeman on Flame

Although it is unethical according to journalism photography to pay for the news source, a photographer should leave their subjects better than they found them(Green (2018, par.2) gives an example of a French photographer, Rehahn who serves as an example of how photographers should reward the subject. Rehahn has taken a step forward to give back to the subject by making a gallery for 54 tribes in Vietnam to propagate their cultures.  Rehahn’s decisions serve as an example of how photographers should serve and impact their subjects. Sim Chi Yin in is another example of a photographer became socially responsible of a family who was affected by lung disease in the process of taking photographs(Photo District News, 2017c, par. 6).

Although the process of photography calls for impartiality and collaboration between the subject and the photographer, the photographers have more responsibility because they are the ones on the lens to see what should be captured on the picture (Green, 2018, par. 2). It means that they owe the subject more of trust that they are going to represent them in the best way possible. Photographers view the subjects as victims of a particular issue or a beneficially, however, some perceive them as actors in illegal and socially unacceptable behaviors. Cohen(2017, p. 1) presents a picture of a woman rewarding soldiers which serve as an example of how subjects should be viewed(picture is shown in appendix 1). As much as the photographers struggle to represent the subject in the best way, they cannot help when it comes to the emotional price which the subject has to pay in some instances(Scruton, 1981, p. 99). For example, when the subject forces to be photographed to pass insightful messages, the photographer is not responsible for the consequences they will face since it was their decision.

Moral Rights of the Subjects

Photographers should present an exciting, fresh and lively portrait of the subject. They need to ask for more from the subject to have the best presentation. Time is essential to understand the needs of the subjects which the photographer should include in the photograph (Dauphinée, 2007, p. 139). Pictures have been taken for quite a long time until they have appeared to be the same losing taste and content. It is the effort of the photographers to get different communicating shots which also serves the subject. Proper collaboration with the subject, therefore, will ensure that the photographer observes the moral rights of the subject and gets a communicating photograph.

Respect and privacy of the subject.

Subjects of photography are owed respect.  Whether the appearance of the information is negative or positive on the photograph, the photographer needs to be respectful and fundamentally curious which will make the presentation deep psychologically rich to bring out something new about the subject (National Press Photographers Association, 2017, par. 6).  Time (2014b); Paul Strand (1916, p. 1), in a photograph showing a blind woman, Strand takes a photograph in such a way that people develops positive messages of help despite it carrying a negative denotation message of blindness.

 

 

 

 

 

 

Source: Time (2014b)

Figure 3: A Photograph taken by Paul Strand in 1916 showing a blind woman in need of help

Photographers should view the subjects as conscious social beings to ask for permission as a way of showing respect and collaboration (Photo District News, 2018a, par. 1). With the permission, the photographer’s can compose the image as the subject cooperates to adjust to the desired message.

Photographers have the responsibility of representing the subject with accuracy. However, they have been stereotyped that they aim at describing the worse side of a person and therefore many people do not like being photographed. Not many subjects would wish to be in front of the camera due to the stereotype that photographers expose the negative side of the matter. It calls for the photographer to build trust with the subject through conversation to explore ideas and build confidence (Scruton, 1981, p. 99). There is more concern about respect for what is captured in the street. Street photography involves taking photographs which will capture other subjects who may be intended or unintended in an open area like a town. The subjects in such photos are unconscious of inclusion in the photograph. Photographers view the subjects as objects by going against the ethics on consent since they do not ask for permission to shoot (O’Hagan, 2010, par. 8).

Integrity

Photographers are supposed to have integrity while taking and exposing the subject’s photographs. Artists should ensure that the pictures respect the dignity of the focused people without harming them(Lavoie, 2010, par. 5). They have the responsibility of adding a caption which may change people’s thinking due to stereotypes.  Integrality also involves disclosing the use of the photograph to the subject. Photographers should show integrity by involving the subjects to identify the best shot. It will not only secure the subject but help the photographer to make the best photograph with the details required for presentation (McLeod, 2008, p. 10). The subjects become comfortable with the pictures knowing that the photographer will not misuse them. A discussion with the intended helps the photographers identify the stereotypes associated with the subjects’ portraits and therefore evaluate the best way to present the individuals without harm (Brown, 2015, par. 3).

Under integrity, photographers should view the subject as a social being with consciousness to enable photographs which do not go against the moral standards of human beings. One case which is usually referred most when it comes to the integrity of a photographer is that of Kelvin Carter, starving child, and vulture (Canceran, 2014, p.140). Kelvin took a photograph of a starving child struggling to walk towards a feeding center with a vulture at the back waiting for the child to die and feed on it. The most controversial part of the picture is the act of Kelvin to wait for the vulture open the wings towards the child and take the portrait (Canceran, 2014, p.140). Kelvin, like many photographers, viewed the child as an object without consciousness and value to maintain integrality and humane actions. Photographers should have an attachment with the subject to represent them humanely. (Unite for Sight, 2000, par. 3). Photographers have some power over the subject which they should use the right way possible. They have the responsibility of creating portraits which shows justice to those who are to be captured.

Photographers should present the subject the same way they would like to be presented.  The culture of the individuals defines what good presentation entails. It is, therefore, necessary for the photographer to seek cultural information of photograph perceptions by the subject to frame the right content. Occupy Wall Street(2014) presents some photographs in which, cultural differences of photograph content can be deduced. Photographers have to put all efforts in place to represent the culture in the best precise way which shows respect for their beliefs and values. The act of taking pictures is perceived differently across cultures. For example, Mexican culture assumes that a photographer is taking subjects soul when the portrait has only one person (Plaisance, 2013, p.175). Photographers need to take time to analyze and interact with the intended to know what they consider as good presentation in photography.

Ethics and Responsibilities of the Photographer to the Audience

Audiences are perceived as essential components of photography, consumers providing reasons and need for photographs which benefit the photographers. Connecting with the audience is therefore very important. Viewers are the destination of photographic works which significantly impact on the content.  Connection with the audience occurs when the pictures influence them(Hughes, 2018, par. 2). Photographers should evaluate the images they are exposing to the audience and how they are going to affect them because of pictures impact mind and emotions (Plaisance, 2013, p.175). Photographers make the photographs to carry the same feeling they are feeling from the subject to the audience. By creating the atmosphere of a place, viewers are swayed to invest more time in decoding about the picture.

Photographs make the audience conscious about their lives by providing information which creates connections. The photographs they take carries strong messages meant to influence and induce the audience to act in a particular way or change behaviors. People cannot see everywhere because their movements are limited. According to Dauphinée(2007, p.140) for example, people can see the internal pain of others through photographs. The body expresses inner pain through visuality which the photographers give more attention (Dauphinée, 2007, p.140). A society constitutes people who want to bring change although there is insufficient information on where to start and the specific change. They have information to influence change, but they lack a medium to express themselves. It is the role of photographers to give the required information and also provide a medium for moving data from and to the society. With the information, society members will be able to make good decisions on the way to express their claims and how to prioritize them. Photographers provide the information medium with an aim to impact people’s consciences, instinct, and compassion emotions. They do so through the question of the impact which their photographs will have on the audience and where it represents the subject in an authentic way.

Accurate and truthful pictures

It is unethical and socially unacceptable for the photographers to use inaccurate photographs which can mislead the society for personal gains (Plaisance, 2013, p.175). Photographers addresses society needs through sending images which carry messages of issues affecting the community as well as which carries society grievances.  Examples of such information include famine, climate change, and diseases. The subjects within a social set up depend on photographers’ trust to be represented to their leaders or other audiences who can help them. However, photographers know that some images which carry society needs may not be entertaining and thus will fail to attract more audience as they may want. They alter the photographs to make them more appealing to the audience at the expense of accuracy (Plaisance, 2013, p.175). In such a case, photographers become irresponsible of subjects’ trust through manipulation of the agreed content of the picture.

Photographers in social sciences also have a role to play in serving the society members who are the subjects in the field. Since they use the pictures for research, the society expects them to give provided feedback which helps to solve some of the challenges they go through(DeShazer, 2009, p.230). The conclusions of the pictures have a great value to the community as they generate heritage values. Altering images to fit the data for the research study is unethical.

Ethics in distressing images

It is unethical to present horrific and other pictures considered to be socially unacceptable to the audiences. Photographers should assess the nature of the content they display in light of the society for approval(DeShazer, 2009, p.230). The society has some photographs which are not morally right to be viewed by a specific class of people. For example, there are some photographs which are not supposed to be seen by people considered young, may be below the age of 18 and 21. Some people are susceptible to trauma, and therefore, exposure to distressing images might lead to health problems. A research done by Bernat et al. (2006, p.101), reveals that all forms of pictures have psychological effects. However, the impact of an image increases with the intensity of the threat content and the audience state. The power of a picture is the measure at which it elicits emotions. Horrific photographs and the ones which reveal human suffering are considered to be more intense(Bernat et al., 2006, p.101). Also, the effects on the mind of an audience rise with an increase in what stimulate fear on the picture. It, therefore, means that images do not just carry information, but they affect the audience through the subject offered.

Images are windows to the soul. They communicate directly to the mind thereby affecting its state. Davis(2013, par. 1) confirms the statement by providing himself as an example describing how some photographs influenced him with different intensity. Davis confirms that pictures have an impact on the mind. Photos force the audience to see what may be, they did not want to see or what was beyond their reach. They focus all components of a subject on one portrait on enabling the message diffuse in the audience mind better compared to when the elements were far and separated. Because of the direct influence, the pictures have on the brain; photographers have to control what they expose to the audience.

Photographs evoke different feelings like reverence, comfort, familiarity and fear of the audience depending on the subject (Anker, 2018, par. 5).  They educate, agitate or even inform depending on how the viewer decodes them. It is due to their positive and negative impacts that governments censors and regulates the contents exposed to the public like in Beijing(Photo District News, 2017b, par. 1). Photographers add a layer of interpretation on images above the appearance of the object(DeShazer, 2009, p. 230).  The added definition and the presentation of the subject should guide the photographer to present images which will be interpreted by the audience as morally acceptable.

Ethics in photographs of sick people and dead bodies

Audiences consider images of painfully killed children to be more distressing and therefore, unethical to expose to them without warning. Although there is a reason for the photographer to such photographs as it will be looked at later, the audience from different societies considers it to be unethical. Presentation of children sufferings evokes strong emotions in people (Holleufer, 1996, p. 2). Since children are innocent, horrific image of a screaming child creates in the mind of the viewer. They start imagining how painful the experience was and the inhumane nature of the person involved in the act a situation which makes them cry as others become traumatized by the thought of the act. Go & Thiessen(2006, par. 5) argues that children are venerable and viewing them when dead disturbs people’s mind. Photographers, therefore, should be sensitive on how they expose different photographs and to whom they expose. According to different cultures, it is not right to display such pictures of killed children and other dead bodies. They argue that the spirit of the dead will haunt them once they see their images.Lewis (2016, par. 3) has an opposing argument of photographs of the dead. Photojournalists do not have bad intentions on the pictures they present, but they present them so that people can confirm that the death occurred and be able to find out the cause of its occurrence(Lewis, 2016, par. 3).

Exposure of suffering bodies in hospitals has also been argued to be unethical and morally wrong. According to Calain (2013, p.280), due to the nature of the medical images, the pictures taken should be used for medical purpose only and not expose to people. They are so sensitive in that they present human sufferings leading to distress. Exposure of such images goes against the subject’s respect and consent, and it is also an offense to the audience who has to pay an emotional price. However, even though it is morally wrong and unethical to expose such pictures, humanitarian organizations still need the photographs to solicit for the help of those in pain(Rothman & Gabriner, 2019 par. 4). Charity Water (2017, p. 9) presents a photo of children drinking water which serves as an example of how well children and other people photographs can be used to expose beneficiaries.

 

 

 

Source: Charity Water (2017)

Figure 4: A photograph of children drinking water from a borehole provided by Charity water organization

Photographers, therefore, have the responsibility of ensuring that the pictures reach the audience with the right interpretation to avoid causing trauma and distress. Calain (2013, p. 280) gives the case the Ebola outbreak in Kikwit as an example of a situation where distressing images can be used to sensitize the public although they get distressed.  

Interpretation of Photographs by the Audience/Semiotic Theory

The theory of semiotics helps to understand how the viewer interprets the images. According to the theory, signs which include photos do not have obvious meaning, but the viewer needs to decode them to get the message (Flood, Heath & Lapp, 2015, p. 33). It, therefore, means that, although the photographer concentrates on the production and presentation of the photograph to flame a message, the consideration of the viewers is essential as the message will depend on their interpretation. However, the audiences do not only use the image to denote the purpose but also use the experience existing in mind.

A photograph according to the theory of semiotic consists of two meanings. There are the apparent denotative meaning and the deeper connotative meaning (Flood, Heath & Lapp, 2015, p. 33). The denotative meaning is the shallow message which is obtained when a photograph is immediately is exposed. Such message represents obvious to the audience although they depend on a similar experience of the image from the viewer(Van Leeuwen&Jewitt, 2001, p. 94). Identification of an image and its apparent meaning is individually determined. The connotative meaning of a photograph goes beyond the evident recognition of an object. It is the deeper meaning which calls for broader concepts, values, and ideas of people. The culture influences the connotative meaning of a photograph.

The Thematic Apperception Test in psychology shows further that the interpretation of a photograph depends on the experience of an individual. In the test, pictures are presented to a viewer who is asked to give a story concerning them(Burgan, 2014, p. 31). Analysis of the stories has revealed that people use their past experiences and emotions to analyze the information on the pictures. Photographs, therefore, get meaning from previous similar pictures, and they serve as containers where the audience fills their thoughts and ideas.

Photographs have a different meaning in different cultures, and therefore, photographers have the responsibility to adjust the content according to the targeted group of people. Cultural beliefs affect viewers’ interpretation of pictures (Burgan, 2014, p. 31). The idea guides photographers to compose specific pictures for specific cultures by studying the culture serving as the subject to construct acceptable content. Also, the photographs need to be specified by whom they are targeted to have a real and intended meaning.

Photographs which Portrays Happiness and Distress

Would a Picture be Able to help if it does not Delineate Distress?

People have assumed that pictures which delineate distress motivate actions more than the ones which delineate happiness. According to Goddard (2017, par. 4), all forms of photographs have the same potential to evoke emotions and motivate actions. The perception forms from the domination of photographs which delineate distress making the audience believe that those are the only photographs which can help, for example, to bring social change. Although the happiness does not concentrate the focus of most people, the fact that they are social beings makes the pictures which delineate happiness to motivate actions. The photographs such as those of nature create the desire for love, security, contentment, and peace among others (Goddard, 2017, par. 4). Others portraits form passion and ideas of joining with family members. All desires created leads to actions.

Documentary photography does not always present distressing images. There are some who show the positive side and appealing life experiences. They motivate people to spearhead the humanity-nature of human beings by copying the right actions or presentations of the subjects (Goddard,  2017, par. 3). Documentaries with photographs which appears to be neutral also have an impact just like the ones which delineate distress. One such picture which has a significant influence is the “Tank Man” taken by Jeff Widener in 1989 presented on appendix 2.

The photograph comprises of a man who bravely stood in front of Chinese tankers which were moving to attack the protesters against the government (Burgan, 2014, p. 31).  Although the photograph does not contain distressing content, it was able and still reviving the courage and the belief that even a small group or person can bring change. The photograph is referred to as “iconic photograph” because it served as an icon of change on the protesters (Burgan, 2014, p. 31).

Image Impact that Portrays Distress versus Happiness

Pictures which depicts suffering seems to have a more significant effect as compared to the ones which represent happiness. They show the hard situations which worry people making them think more about the content.  The distressing images can elicit more emotions since human beings are sympathetic (Canceran, 2014, p. 144). On the other hand, photographs which portray happiness are taken to be normal as that is the standard way of life people expect others to live. As a result, people do not take much of their time to think of how they affect them or what content they carry.

The question of morality and ethics arises when distressful photographs are displayed for example those with dead bodies. However, the advantages of the pictures cannot be underestimated. The challenge facing such films is the denotation of the apparent meaning forgetting about the connotation meaning intended by the photographer (Lester, 1999, p. 36). People view the images to be horrific, and due to stereotypes, they assume that the photographer had the intention of affecting their minds. Society view publication of horrific photographs to be morally wrong forgetting the benefits accompanying them(Lester, 1999, p. 36).  That is, through photographs which elicit emotions, people develop feelings and sympathy towards the subject. Without the portraits, people would not be aware of what is happening on the other side and therefore would think that everything is right.

People have come up with many suggestions on how photographers and photojournalist should use their cameras when it comes to horrific scenes. In one of the suggestion, people argue that the photographer ought to have kept the camera aside, and help the person who is in pain instead of taking the shot and expose the subject(Gross, Katz, and Ruby, 1988, p. 7).  However, the question arises, were it not for the picture their audiences are criticizing, would they have known of the existence of such a scene?

To understand the concept, let’s consider the photograph of “the child and vulture,” which was taken by Kevin Carter on struggling weak child. Carter had gone to Sudan to cover the story of famine which was being experienced in 1993 when he came across a child struggling to access a food relief center with a vulture at the back waiting for the child to die and feast on the body(Canceran, 2014, p. 140). Carter stage-managed the content by wait for the vulture to get closer to the child to have a better shot. The photograph elicited so many criticisms after it was published. At the same time, a different group of people has appreciated the work which even saw Carter receive Pulitzer Prize (Canceran, 2014, p. 140). The arguments show that society morals prohibit exposure of scenes which reveal severe human suffering. Carter, therefore, through the society view eyes was supposed to help the child first instead of prioritizing the portrait. However, Carter made the child to get assistance from the UN to prove the society wrong. Also, the photograph showed the world how severe the situation was in Sudan to come to their aid.

Carter’s work enabled the world to connect with those people who were suffering in Sudan and take their assistance. The work showed that some images might be distressful, but their more in-depth content is useful and essential to the targeted people. It is the society which has assumed the apparent meaning of the photographs and assumed the intended message of the photographer (Canceran, 2014, p. 143). In the case of Carter, the picture was designed to show the extent of famine in Sudan and not the actual state of the child.  Photographers in such a case and others amplify the voice of the weak in the society.

What Photographers go through while Taking Distressful Pictures

Photographers sacrifices their lives to get the horrific pictures something which justifies the good intention of the distressing images they display something they could abandon if the intention were only to display a dying child or a killed soldier. Sometimes, photojournalists find themselves in between the wars, and they have to protect their lives as well as their expensive cameras(Kashi, 2012, par. 2). They face threats, where some are even killed by those involved in human injustice(The Guardian, 2012, par. 5). Independent (2017) Duley, G. (date unknown), gives an experience of Duleyin photography where, despite being injured, the photojournalist struggled to cover the war scene of some children helping each other.

 

 

 

 

 

Source: Independent (2017)

Figure 5: A photograph taken by Duley showing some Children escaping from a war zone

They also go through traumatic moments when they come across distressful images which they have to carry to inform the world about the situation. It would be easier to help struggling human beings first like the case of Carter, but there are ethics to follow, more advantages and justice in taking a photograph since it will save many(Canceran, 2014, p. 140). In such an instance and others, photojournalists are guided by professional ethics. They honestly cover horrific situations like war to serve as a voice for those trapped and the survivors.

Editors have at their disposal the decision to display distress images in a manner that they will take care of the viewer who is affected by the images.  They have ways which they can use to expose the images to elicit fewer emotions(Keats, 2010, p. 232). For example, the editors can decide first to show a partial resolution of the photographs and perhaps later reveal the whole incidence to the people who must undergo the traumas after the occurrence. The idea of hiding the images partially may not help much as finally, they will have to be exposed to serve as a call for intervention in war or famine.  Because of the concept behind the picture, editors should go ahead and display it to the public (Keats, 2010, p. 232).

Health Effects of Distressing Images

Research done on the impact of the Boston Marathon Bombings suggests that exposure to distress media images resulted to physical and psychological effects to people who had dormant trauma(Holman, Garfin& Silver, 2014, p. 98). When people watch traumatic pictures repeatedly, they are likely to become stressed, and the traumatized ones are likely to take long before they get well. According to Holman, Garfin & Silver( 2014, p. 98), viewing of distressing images of past horrific events like bombing more than six hours per day, increases the chances of high acute stress. However, the strength of the effect is determined by the individual’s view about life and the world like the extent they can risk.

Continuous exposure to content on community-based trauma like a mass shooting or bombing reinforces reflection and disturbing thoughts, activate the fear circuitry and also develops flashbacks of such events (Keats, 2010, p. 232). Continuous exposure to pictures depicting fear and worry activates trauma on some people. The situation impacts the physiological systems such as immune, endocrine and cardiovascular where they reiterate the situation. The activated physiological systems have high chances of promoting the development of stress-related disorders. The laboratory experiment was done on the victims of the Boston Marathon bombings. The fear of future attacks created by exposure to the traumatic pictures made the audiences to develop cardiovascular disorders after three years (Garfin& Silver, 2014, p. 98). Also, the ruminative thoughts were found to increase the risk of heart diseases, poor daily functioning as well as impaired immune. In summary, exposure to media distress images leads to the development of the acute stress to a chronic stressor which has physiological consequences and other health disorders related to stress (Garfin& Silver, 2014, p. 98). It shows that traumatic photographs and documentary develops a series of reactions in the mind which finally leads to a severe disorder.

Those people who are not involved in traumatic events but they watch pictures of what happened are likely to be affected through visualization of the event. The research shows that those people who watched the documentary about the bombing a few weeks after the event developed acute stress. According to Garfin & Silver(2014, p. 98), there are some images presented on the media which have more effect on mental health, for example, seeing subjects jumping from a tall building.

From the above analysis, it is evident that photographs have a severe effect on the mind of people (Ross & Lester, 2011, p. 26). The traumatic pictures go through a process of recognition thereby affecting the mind and finally lead to a severe brain disorder(Kennedy, 2009, par. 1). However, the images do not affect everybody. The effects depend on several factors which include viewers’ world view as well as orientation to risk-taking. It is hard to avoid the pictures due to the attractive and vital information they carry. As a result, photographers and editors need to understand how different people are affected by different images to manage the exposure.

Impact of Documentary Photography

Does the Documentary/Photojournalism Attempt to Influence the Audience or drive people Away?

Documentary photography attracts people other than driving them away. Although some documentaries carry distressing images for example dying or dead people, their aim is not to denote death but to connote human injustice and sufferings. Although most people argue that some of the distress images should not be displayed, they go ahead on viewing them and appreciating the message (Ritchin, (2014d, par 7). The need to connect with affected subjects and curiosity to see what is happening in different places makes documentary photography attractive and impacting. They draw people since they create awareness of issues considered necessary in the life of human beings (Rosler, 1984, p. 200). More attachment is enhanced when the documentaries can achieve a call to action from the audience.

Some documentaries attract people while others do not. Some contents lack immediate connection with people making some of the documentaries unattractive. Documentary photography with so many details which cannot call for individual intervention such as those showing climate changes is perceived to be boring (Tishelman, at al., 2016, p. 123). Climate documentaries are not easy to connect with since they do not intimately affect the viewer. Most of such documentaries are not reduced to manageable content by the audience and therefore, they do not attract people or make them develop change.

Social Change in Photography and Documentary Photography

Photographers take pictures which they are sure that they will influence the viewer to carry out change. Watching such pictures on documentaries brings about an intangible magic experience to the audiences which awaken their empathies. They make the viewers discover the other side of the subjects and their life experiences(Ritchin, 2013c, par. 4). A connection between the audience and the subject is established as a result. Photographers and editors also need to develop empathy towards the subject to be able to deliver justice through photography (Resnick, 2017, par. 4). The conditions of objects presented in the photographs change the inspiration of the audience to actions which lead to social change.

Photographs put forward issues which impact on viewer’s strategies. They connect with the viewers to generate emotions and compassion (Laurent, 2017, par. 3). With the feelings, they get the grip required to make a change. Photographers, therefore, ensures that the pictures contain emotional feeling aspect which influences the viewer.  Some of the photographs present starving people and other worse conditions (Shapiro, 2012, par. 3). Their aim is not on the denotation messages they carry to drive people away but to impact on a more profound message. Pictures of distress are known to evoke more emotions and therefore have a more significant impact on social change (Sontag, 2003, p. 1). The images make the viewers take the initiative of locating the subject to help or force policies which will change the conditions presented.

Documentary photography impacts by displaying the truth in hardship times when they expose disturbing scenes(Jacobitz, 2017, par. 4). Distressing scenes produces more emotions due to fear of difficult life issues. Some of the documented photographs present cries of poverty and famine of families. They act as social tools for democracy (Cookman, 2009, p. 100). Cookman(2009, p. 100), describes how the Americans used the photographs to advocate for social improvements and they still use them to date due to the impacts they made. The pictures impact by eliciting public debate which pushes of change in policies to avert the hard situations experienced by people. An example of such a photograph documentary which proves that they can lead to change is the “And Babies?” taken by Ronald L. Haeberle, 1968. The picture represented killed adults and even babies in Vietnam as a result of the presence of US in the country. The portrait and others created emotions and traumatic sufferings which forced people to speak up where the government took action; withdrew of the Army from Vietnam (Ritchin, 2013b, p. 36). Photographs do not just show the situation of a subject but also tell the story behind the condition. Visuals elicit more emotions than words.

Conclusion

Photographs are a powerful medium of communication. They change the state of mind of the photographer, the subject and the viewers. However, the impact of the photographs is more when the three components collaborate to produce informative pictures.  Interaction with the content before taking a shot is essential to increase the effect of the photograph and how well it appeals to those targeted. Subject engagement makes it possible to have a detailed image and maintain positive impact.

On the other hand, the audience is engaged to help the photographer identify the required content. A picture is a result of collaboration between the subject, audience and the photographer. The three are the backbones of photography, and they shape the content of a picture. Photography, therefore, goes beyond taking a picture to identify the best content which is informative to the audience and respect as well as rewards the subject. The study has added knowledge on the kind of a relationship which exists between the photographer, the subject and the audience. It is clear a photograph is a project of the three subjects and not the photographer alone. From the analysis, the study proposes that photographers and photojournalists increase their collaboration with the audience and the subject. It will help to know what kind of images do not offend and the ones which will be of societal benefit.

 

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